Chapter I: Will Wake My Harp When the Shades of Even.23 (1)

I will wake my harp when the shades of even
Are closing around the dying day,
When thoughts that wear the hues of Heaven
Are weaning my heart from the world away;
And my strain will tell of a land and home
Which my wand'ring steps have left behind,
Where the hearts that throb and the feet that roam
Are free as the breath of their mountain wind.

I will wake my harp when the star of Vesper
Hath open'd its eye on the peaceful earth,
When not a leaf is heard to whisper
That a dew-drop falls, or a breeze hath birth.
And you, dear friends of my youthful years,
Will oft be the theme of my lonely lay,
And a smile for the past will gild the tears
That tell how my heart is far away.

I will wake my harp when the moon is holding
Her star-tent court in the midnight sky,
When the spirits of love, their wings unfolding,
Bring down sweet dreams to each fond one's eye.
And well may I hail that blissful hour,
For my spirit will then, from its thrall set free,
Return to my own lov'd maiden's bower,
And gather each sigh that she breathes for me.

Thus, still when those pensive hours are bringing
The feelings and thoughts which no lips can tell,
I will charm each cloud from my soul by singing
Of all I have left and lov'd so well.
Oh! Fate may smile, and Sorrow may cease,
But the dearest hope we on earth can gain
Is to come, after long sad years, in peace,
And be join'd with the friends of our love, again.

FOOTNOTES:

[23] Printed for the first time.

THOMAS BRYDSON.

Thomas Brydson was born in Glasgow in 1806. On completing the usual course of study at the Universities of Glasgow and Edinburgh, he became a licentiate of the Established Church. He assisted in the Middle Church, Greenock, and in the parish of Kilmalcolm, Renfrewshire, and was, in 1839, ordained minister of Levern Chapel, near Paisley. In 1842, he was translated to the full charge of Kilmalcolm, where he continued to minister with much acceptance till his death, which took place suddenly on the 28th January 1855.

A man of fine fancy and correct taste, Mr Brydson was, in early life, much devoted to poetical composition. In 1829, he published a duodecimo volume of "Poems;" and a more matured collection of his poetical pieces in 1832, under the title of "Pictures of the Past." He contributed, in prose and verse, to the _Edinburgh Literary Journal_; the _Republic of Letters_, a Glasgow publication; and some of the London annuals. Though fond of correspondence with his literary friends, and abundantly hospitable, he latterly avoided general society, and, in a great measure, confined himself to his secluded parish of Kilmalcolm. Among his parishioners he was highly esteemed for the unction and fervour which distinguished his public ministrations, as well as for the gentleness of his manners and the generosity of his heart. Of domestic animals he was devotedly fond. He took delight in pastoral scenery, and in solitary musings among the hills. His poetry is pervaded by elegance of sentiment and no inconsiderable vigour of expression.

ALL LOVELY AND BRIGHT.

All lovely and bright, 'mid the desert of time,
Seem the days when I wander'd with you,
Like the green isles that swell in this far distant clime,
On the deeps that are trackless and blue.

And now, while the torrent is loud on the hill,
And the howl of the forest is drear,
I think of the lapse of our own native rill--
I think of thy voice with a tear.

The light of my taper is fading away,
It hovers, and trembles, and dies;
The far-coming morn on her sea-paths is gray,
But sleep will not come to mine eyes.

Yet why should I ponder, or why should I grieve
O'er the joys that my childhood has known?
We may meet, when the dew-flowers are fragrant at eve,
As we met in the days that are gone.

CHARLES DOYNE SILLERY.

Though a native of Ireland, Charles Doyne Sillery has some claim to enrolment among the minstrels of Caledonia. His mother was a Scotchwoman, and he was himself brought up and educated in Edinburgh. He was born at Athlone, in Ireland, on the 2d of March 1807. His father, who bore the same Christian and middle names, was a captain of the Royal Artillery.[24] He distinguished himself in the engagements of Talavera on the 27th and 28th of July 1809; but from his fatigues died soon after. His mother, Catherine Fyfe, was the youngest daughter of Mr Barclay Fyfe, merchant in Leith. She subsequently became the wife of James Watson, Esq., now of Tontley Hall, Berkshire.

Of lively and playful dispositions, Sillery did not derive much advantage from scholastic training. His favourite themes were poetry and music, and these he assiduously cultivated, much to the prejudice of other important studies. At a subsequent period he devoted himself with ardour to his improvement in general knowledge. He read extensively, and became conversant with the ancient and some of the modern languages. Disappointed in obtaining a commission in the Royal Artillery, on which he had calculated, he proceeded to India as midshipman in a merchant vessel. Conceiving a dislike to a seafaring life, after a single voyage, he entered on the study of medicine in the University of Edinburgh. From early youth he composed verses. In 1829, while only in his twenty-second year, he published, by subscription, a poem, in nine cantos, entitled "Vallery; or, the Citadel of the Lake." This production, which refers to the times of Chivalry, was well received; and, in the following year, the author ventured on the publication of a second poem, in two books, entitled "Eldred of Erin." In the latter composition, which is pervaded by devotional sentiment, the poet details some of his personal experiences. In 1834 he published, in a small duodecimo volume, "The Exiles of Chamouni; a Drama," a production which received only a limited circulation. About the same period, he became a contributor of verses to the _Edinburgh Literary Journal_. He ultimately undertook the editorial superintendence of a religious periodical.

Delicate in constitution, and of a highly nervous temperament, Sillery found the study of medicine somewhat uncongenial, and had formed the intention of qualifying himself for the Church. He calculated on early ecclesiastical preferment through the favour of Her Majesty Queen Adelaide, to whom he had been presented, and who had evinced some interest on his behalf. But his prospects were soon clouded by the slow but certain progress of an insidious malady. He was seized with pulmonary consumption, and died at Edinburgh on the 16th May 1836, in his twenty-ninth year.

Of sprightly and winning manners, Sillery was much cherished in the literary circles of the capital. He was of the ordinary height, and of an extremely slender figure; and his eye, remarkably keen and piercing, was singularly indicative of power. Poetry, in its every department, he cherished with the devotion of an enthusiast; and though sufficiently modest on the subject of his own poetical merits, he took delight in singing his own songs. Interested in the history of the Middle Ages, he had designed to publish an "Account of Ancient Chivalry." Latterly, his views were more concentrated on the subject of religion. Shortly before his death, he composed a "Discourse on the Sufferings of Christ," the proof-sheets of which he corrected on his deathbed. As a poet, with more advanced years, he would have obtained a distinguished place. With occasional defects, the poem of "Vallery" is possessed of much boldness of imagery, and force and elegance of expression.

FOOTNOTES:

[24] Captain Doyne Sillery was born in Drogheda, Ireland, of which place his father was mayor during the Rebellion of 1798, and where he possessed considerable property. He was descended from one of the most ancient and illustrious families in France, of which the representative took refuge in England during the infamous persecution of the Protestants in the sixteenth century. On the reduction of priestly power in Ireland by Cromwell, the family settled in that portion of the United Kingdom. The family name was originally Brulart. Nicolas Brulart, Marquis de Sillery, Lord de Pinsieux, de Marinis, and de Berny, acquired much reputation from the many commissions in which he served in France. (See "L'Histoire Généalogique et Chronologique des Chanceliers de France," tom. vi. p. 524). On the maternal side Captain Sillery was lineally descended from Edward Hyde, Earl of Clarendon, the famous chancellor.

SHE DIED IN BEAUTY.

She died in beauty! like a rose
Blown from its parent stem;
She died in beauty! like a pearl
Dropp'd from some diadem.

She died in beauty! like a lay
Along a moonlit lake;
She died in beauty! like the song
Of birds amid the brake.

She died in beauty! like the snow
On flowers dissolved away;
She died in beauty! like a star
Lost on the brow of day.

She _lives_ in glory! like night's gems
Set round the silver moon;
She lives in glory! like the sun
Amid the blue of June!

THE SCOTTISH BLUE BELLS.

Let the proud Indian boast of his jessamine bowers,
His pastures of perfume, and rose-cover'd dells;
While humbly I sing of those wild little flowers--
The blue-bells of Scotland, the Scottish blue-bells.

Wave, wave your dark plumes, ye proud sons of the mountain,
For brave is the chieftain your prowess who quells,
And dreadful your wrath as the foam-flashing fountain,
That calms its wild waves 'mid the Scottish blue-bells.

Then strike the loud harp to the land of the river,
The mountain, the valley, with all their wild spells,
And shout in the chorus for ever and ever--
The blue-bells of Scotland, the Scottish blue-bells.

Sublime are your hills when the young day is beaming,
And green are your groves with their cool crystal wells,
And bright are your broadswords, like morning dews gleaming
On blue-bells of Scotland, on Scottish blue-bells.

Awake! ye light fairies that trip o'er the heather,
Ye mermaids, arise from your coralline cells--
Come forth with your chorus, all chanting together--
The blue-bells of Scotland, the Scottish blue-bells.

Then strike the loud harp to the land of the river,
The mountain, the valley, with all their wild spells,
And shout in the chorus for ever and ever--
The blue-bells of Scotland, the Scottish blue-bells.

ROBERT MILLER.

Robert Miller, the author of the two following songs, was a native of Glasgow, and was educated for the legal profession. He contributed verses to the periodicals, but did not venture on any separate publication. He died at Glasgow, in September 1834, at the early age of twenty-four. His "Lay of the Hopeless" was written within a few days of his decease.

WHERE ARE THEY?

The loved of early days!
Where are they?--where?
Not on the shining braes,
The mountains bare;--
Not where the regal streams
Their foam-bells cast--
Where childhood's time of dreams
And sunshine pass'd.

Some in the mart, and some
In stately halls,
With the ancestral gloom
Of ancient walls;
Some where the tempest sweeps
The desert waves;
Some where the myrtle weeps
On Roman graves.

And pale young faces gleam
With solemn eyes;
Like a remember'd dream
The dead arise;
In the red track of war
The restless sweep;
In sunlit graves afar
The loved ones sleep.

The braes are dight with flowers,
The mountain streams
Foam past me in the showers
Of sunny gleams;
But the light hearts that cast
A glory there,
In the rejoicing past,
Where are they?--where?

LAY OF THE HOPELESS.

Oh! would that the wind that is sweeping now
O'er the restless and weary wave,
Were swaying the leaves of the cypress bough
O'er the calm of my early grave--
And my heart with its pulses of fire and life,
Oh! would it were still as stone.
I am weary, weary, of all the strife,
And the selfish world I 've known.

I 've drunk up bliss from a mantling cup,
When youth and joy were mine;
But the cold black dregs are floating up,
Instead of the laughing wine;
And life hath lost its loveliness,
And youth hath spent its hour,
And pleasure palls like bitterness,
And hope hath not a flower.

And love! was it not a glorious eye
That smiled on my early dream?
It is closed for aye, where the long weeds sigh,
In the churchyard by the stream:
And fame--oh! mine were gorgeous hopes
Of a flashing and young renown:
But early, early the flower-leaf drops
From the withering seed-cup down.

And beauty! have I not worshipp'd all
Her shining creations well?
The rock--the wood--the waterfall,
Where light or where love might dwell.
But over all, and on my heart,
The mildew hath fallen sadly,
I have no spirit, I have no part
In the earth that smiles so gladly!

I only sigh for a quiet bright spot
In the churchyard by the stream,
Whereon the morning sunbeams float,
And the stars at midnight dream;
Where only Nature's sounds may wake
The sacred and silent air,
And only her beautiful things may break
Through the long grass gathering there.

ALEXANDER HUME.

Alexander Hume was born at Kelso on the 1st of February 1809. His father, Walter Hume, occupied a respectable position as a retail trader in that town. Of the early history of our author little has been ascertained. His first teacher was Mr Ballantyne of Kelso, a man somewhat celebrated in his vocation. To his early preceptor's kindness of heart, Hume frequently referred with tears. While under Mr Ballantyne's scholastic superintendence, his love of nature first became apparent. After school hours it was his delight to wander by the banks of the Tweed, or reclining on its brink, to listen to the music of its waters. From circumstances into which we need not inquire, his family was induced to remove from Kelso to London. The position they occupied we have not learned; but young Hume is remembered as being a quick, intelligent, and most affectionate boy, eager, industrious, self-reliant, and with an occasional dash of independence that made him both feared and loved. He might have been persuaded to adopt almost any view, but an attempt at coercion only excited a spirit of antagonism. To use an old and familiar phrase, "he might break, but he would not bend."

About this period (1822 or 1823), when irritated by those who had authority over him, he suddenly disappeared from home, and allied himself to a company of strolling players, with whom he associated for several months. He had an exquisite natural voice, and sung the melting melodies of Scotland in a manner seldom equalled. With the itinerant manager he was a favourite, because he was fit for anything--tragedy, comedy, farce, a hornpipe, and, if need be, a comic song, in which making faces at the audience was an indispensable accomplishment. His greatest hit, we are told, was in the absurdly extravagant song, "I am such a Beautiful Boy;" when he used to say that in singing one verse, he opened his mouth so wide that he had difficulty in closing it; but it appears he had neither difficulty nor reluctance in closing his engagement. Getting tired of his new profession, and disgusted with his associates, poorly clad and badly fed, he slipped away when his companions were fast asleep, and returned to London. Here, weary and footsore, he presented himself to a relative, who received him kindly, and placed him in a position where by industry he might provide for his necessities.

In 1827, he obtained a situation with Forbes & Co. of Mark Lane, the highly respectable agents for Berwick & Co. of Edinburgh, the celebrated brewers of Scotch ale. His position being one of considerable responsibility, he was obliged to find security in the sum of £500, which he obtained from the relative who had always stood his friend. But such was his probity and general good conduct, that his employers cancelled the security, and returned the bond as a mark of their appreciation of his integrity and worth.

About this period it was that he first gave utterance to his feelings in verse. Impulsive and impassioned naturally, his first strong attachment roused the deepest feelings of the man, and awoke the dormant passion of the poet. The non-success of his first wooing only made his song the more vehement for a while, but as no flame can burn intensely for ever, his love became more subdued, and his song gradually assumed that touching pathos which has ever characterised the best lyrics of Scotland.

Some time between the years 1830 and 1833, he became a member of the Literary and Scientific Institution, Aldersgate Street, where he made the acquaintance of many kindred spirits, young men of the same standing as himself, chiefly occupied in the banks, offices, and warehouses of the city of London. There they had classes established for the study of history, for the discussion of philosophical and literary subjects, and for the practice of elocution. The recitations of the several members awoke the embers that smouldered in his heart from the time he had left the stage. His early experience had made him acquainted with the manner in which the voice ought to be modulated to make the utterance effective; and although he seldom ventured to recite, he was always a fair critic and a deeply interested auditor. The young ambition of a few had led them to aspire to authorship, and they established a monthly magazine. Although the several articles were not of the highest order, they were, nevertheless, quite equal to the average periodical writings of the day. In this magazine it is believed that Hume published his first song. It had been sent in the ordinary way, signed _Daft Wattie_, and the editor, not appreciating the northern dialect in which it was written, had tossed it aside. Shortly afterwards, one of the managers on turning over the rejected papers was attracted by the verses, read them, and was charmed. He placed them back in the editor's box, certifying them as fit for publication by writing across them,

"Musical as is Apollo's lute,"

to which he signed his name, William Raine. This circumstance soon led to an intimate acquaintance with Mr Raine, who was a man of considerable original power, excellent education, and of a social and right manly nature. This new acquaintance coloured the whole of Hume's future life. They became fast friends, and were inseparable. The imagination of Hume was restrained by the acute judgment and critical ability of Mr Raine. When Hume published his first volume of "Songs," it would perhaps be difficult to determine whether their great success and general popularity resulted from the poet whose name they bore, or from the friend who weighed and suggested corrections in almost every song, until they finally came before the public in a collected form. The volume was dedicated to Allan Cunningham, and in the preface he says: "I composed them by no rules excepting those which my own observation and feelings formed; I knew no other. As I thought and felt, so have I written. Of all poetical compositions, songs, especially those of the affections, should be natural, warm gushes of feeling--brief, simple, and condensed. As soon as they have left the singer's lips, they should be fast around the hearer's heart."

In 1837, Hume married Miss Scott, a lady well calculated to attract the eye and win the heart of a poet. He remained connected with the house of Berwick & Co. until 1840, when, to recover his health, which had been failing for some time, he was advised to visit America, where he travelled for several months. On his return to England, he entered into an engagement with the Messrs Lane of Cork, then the most eminent brewers in the south of Ireland. To this work he devoted himself with great energy, and was duly rewarded for his labour by almost immediate success. The article he sold became exceedingly popular in the metropolis; nor was he disappointed in the hope of realising considerable pecuniary advantages.

For several years he had written very little. The necessity to make provision for a rapidly increasing family, and the ambition to take a high position in the business he had chosen, occupied his every hour, and became with him a passion as strong as had ever moved him in works of the imagination.

In 1847 there were slight indications of a return of the complaint from which he had suffered in 1840, and he again crossed the Atlantic. Although he returned considerably improved in health, he was by no means well. Fortunately he had secured the services of a Mr Macdonald as an assistant in his business, whose exertions in his interest were unremitting. Mr Hume's health gradually declined, and ultimately incapacitated him for the performance of any commercial duty. In May 1851 he died at Northampton, leaving a widow and six children.

As a song writer, Hume is entitled to an honourable place among those authors whose writings have been technically called "the Untutored Muse of Scotland." His style is eminently graceful, and a deep and genuine pathos pervades his compositions. We confidently predict that some of his lyrics are destined to obtain a lasting popularity. In 1845, a complete edition of his "Songs and Poems" was published at London in a thin octavo volume.

MY WEE, WEE WIFE.

AIR--_"The Boatie Rows."_

My wee wife dwells in yonder cot,
My bonnie bairnies three;
Oh! happy is the husband's lot,
Wi' bairnies on his knee.
My wee, wee wife, my wee, wee wife,
My bonnie bairnies three;
How bright is day how sweet is life!
When love lights up the e'e.

The king o'er me may wear a crown,
Have millions bow the knee,
But lacks he love to share his throne,
How poor a king is he!
My wee, wee wife, my wee, wee wife,
My bonnie bairnies three,
Let kings ha'e thrones, 'mang warld's strife,
Your hearts are thrones to me.

I 've felt oppression's galling chain,
I 've shed the tear o' care,
But feeling aye lost a' its pain,
When my wee wife was near.
My wee, wee wife, my wee, wee wife,
My bonnie bairnies three,
The chains we wear are sweet to bear,
How sad could we go free!

O POVERTY!

AIR--_"The Posie."_

Eliza was a bonnie lass, and oh! she lo'ed me weel,
Sic love as canna find a tongue, but only hearts can feel;
But I was poor, her faither doure, he wadna look on me;
O poverty! O poverty! that love should bow to thee.

I went unto her mother, and I argued and I fleech'd,
I spak o' love and honesty, and mair and mair beseech'd;
But she was deaf to a' my grief, she wadna look on me;
O poverty! O poverty! that love should bow to thee.

I next went to her brother, and I painted a' my pain,
I told him o' our plighted troth, but it was a' in vain;
Though he was deep in love himsel', nae feeling he'd for me;
O poverty! O poverty! that love should bow to thee.

Oh! wealth it makes the fool a sage, the knave an honest man,
And canker'd gray locks young again, if he has gear and lan';
To age maun beauty ope her arms, though wi' a tearfu' e'e;
O poverty! O poverty! that love should bow to thee.

But wait a wee, oh! love is slee, and winna be said nay,
It breaks a' chains, except its ain, but it will ha'e its way;
In spite o' fate we took the gate, now happy as can be;
O poverty! O poverty! we're wed in spite o' thee.

NANNY.

AIR--_"Fee him, Father."_

There 's mony a flower beside the rose,
And sweets beside the honey;
But laws maun change ere life disclose
A flower or sweet like Nanny.
Her e'e is like the summer sun,
When clouds can no conceal it,
Ye 're blind if it ye look upon,
Oh! mad if ere ye feel it.

I 've mony bonnie lassies seen,
Baith blithesome, kind, an' canny;
But oh! the day has never been
I 've seen another Nanny!
She 's like the mavis in her sang,
Amang the brakens bloomin',
Her lips ope to an angel's tongue,
But kiss her, oh! she's woman.

MY BESSIE.

AIR--_"The Posie."_

My Bessie, oh! but look upon these bonnie budding flowers,
Oh! do they no remember ye o' mony happy hours,
When on this green and gentle hill we aften met to play,
An' ye were like the morning sun, an' life a nightless day?

The gowans blossom'd bonnilie, I 'd pu' them from the stem,
An' rin in noisy blithesomeness to thee, my Bess, wi' them,
To place them in thy lily breast, for ae sweet smile on me,
I saw nae mair the gowans then, then saw I only thee.

Like two fair roses on a tree, we flourish'd an' we grew,
An' as we grew, sweet love grew too, an' strong 'tween me an' you;
How aft ye 'd twine your gentle arms in love about my neck,
An' breathe young vows that after-years o' sorrow has na brak!

We 'd raise our lisping voices in auld Coila's melting lays,
An' sing that tearfu' tale about Doon's bonnie banks and braes;
But thoughtna' we o' banks and braes, except those at our feet,
Like yon wee birds we sang our sang, yet ken'd no that 'twas sweet.

Oh! is na this a joyous day, a' Nature's breathing forth,
In gladness an' in loveliness owre a' the wide, wide earth?
The linties they are lilting love, on ilka bush an' tree,
Oh! may such joy be ever felt, my Bess, by thee and me!

MENIE HAY.

AIR--_"Heigh-ho! for Somebody."_

A wee bird sits upon a spray,
And aye it sings o' Menie Hay,
The burthen o' its cheery lay
Is "Come away, dear Menie Hay!
Sweet art thou, O Menie Hay!
Fair I trow, O Menie Hay!
There 's not a bonnie flower in May
Shows a bloom wi' Menie Hay."

A light in yonder window 's seen,
And wi' it seen is Menie Hay;
Wha gazes on the dewy green,
Where sits the bird upon the spray?
"Sweet art thou, O Menie Hay!
Fair I trow, O Menie Hay!
At sic a time, in sic a way,
What seek ye there, O Menie Hay?"

"What seek ye there, my daughter dear?
What seek ye there, O Menie Hay?"
"Dear mother, but the stars sae clear
Around the bonnie Milky Way."
"Sweet are thou, O Menie Hay!
Slee I trow, O Menie Hay!
Ye something see ye daurna say,
Paukie, winsome Menie Hay!"

The window 's shut, the light is gane,
And wi' it gane is Menie Hay;
But wha is seen upon the green,
Kissing sweetly Menie Hay?
"Sweet art thou, O Menie Hay!
Slee I trow, O Menie Hay!
For ane sae young ye ken the way,
And far from blate, O Menie Hay!"

"Gae scour the country, hill and dale;
Oh! waes me, where is Menie Hay?
Search ilka nook, in town or vale,
For my daughter, Menie Hay."
"Sweet art thou, O Menie Hay!
Slee I trow, O Menie Hay!
I wish you joy, young Johnie Fay,
O' your bride, sweet Menie Hay."

I 'VE WANDER'D ON THE SUNNY HILL.

I 've wander'd on the sunny hill, I 've wander'd in the vale,
Where sweet wee birds in fondness meet to breathe their am'rous tale;
But hills or vales, or sweet wee birds, nae pleasures gae to me--
The light that beam'd its ray on me was Love's sweet glance from thee.

The rising sun, in golden beams, dispels the night's dark gloom--
The morning dew to rose's hue imparts a freshening bloom;
But sunbeams ne'er so brightly play'd in dance o'er yon glad sea,
Nor roses laved in dew sae sweet as Love's sweet glance from thee.

I love thee as the pilgrims love the water in the sand,
When scorching rays or blue simoom sweep o'er their withering hand;
The captive's heart nae gladlier beats when set from prison free,
Than I when bound wi' Beauty's chain in Love's sweet glance from thee.

I loved thee, bonnie Bessie, as the earth adores the sun,
I ask'd nae lands, I craved nae gear, I prized but thee alone;
Ye smiled in look, but no in heart--your heart was no for me;
Ye planted hope that never bloom'd in Love's sweet glance from thee.

OH! YEARS HAE COME.

Oh! years hae come, an' years hae gane,
Sin' first I sought the warld alane,
Sin' first I mused wi' heart sae fain
On the hills o' Caledonia.
But oh! behold the present gloom,
My early friends are in the tomb,
And nourish now the heather bloom
On the hills o' Caledonia.

My father's name, my father's lot,
Is now a tale that 's heeded not,
Or sang unsung, if no forgot
On the hills o' Caledonia.
O' our great ha' there 's left nae stane--
A' swept away, like snaw lang gane;
Weeds flourish o'er the auld domain
On the hills o' Caledonia.

The Ti'ot's banks are bare and high,
The stream rins sma' an' mournfu' by,
Like some sad heart maist grutten dry
On the hills o' Caledonia.
The wee birds sing no frae the tree,
The wild-flowers bloom no on the lea,
As if the kind things pitied me
On the hills o' Caledonia.

But friends can live, though cold they lie,
An' mock the mourner's tear an' sigh,
When we forget them, then they die
On the hills o' Caledonia.
An' howsoever changed the scene,
While mem'ry an' my feeling 's green,
Still green to my auld heart an' e'en
Are the hills o' Caledonia.

MY MOUNTAIN HAME.

AIR--_"Gala Water."_

My mountain hame, my mountain hame!
My kind, my independent mother;
While thought and feeling rule my frame,
Can I forget the mountain heather?
Scotland dear!

I love to hear your daughters dear
The simple tale in song revealing,
Whene'er your music greets my ear
My bosom swells wi' joyous feeling--
Scotland dear!

Though I to other lands may gae,
Should Fortune's smile attend me thither,
I 'll hameward come, whene'er I may,
And look again on the mountain heather--
Scotland dear!

When I maun die, oh! I would lie
Where life and me first met together;
That my cauld clay, through its decay,
Might bloom again in the mountain heather--
Scotland dear!

THOMAS SMIBERT.

A poet and indefatigable prose-writer, Thomas Smibert was born in Peebles on the 8th February 1810. Of his native town his father held for a period the office of chief magistrate. With a view of qualifying himself for the medical profession, he became apprentice to an apothecary, and afterwards attended the literary and medical classes in the University of Edinburgh. Obtaining licence as a surgeon, he commenced practice in the village of Inverleithen, situated within six miles of his native town. He was induced to adopt this sphere of professional labour from an affection which he had formed for a young lady in the vicinity, who, however, did not recompense his devotedness, but accepted the hand of a more prosperous rival. Disappointed in love, and with a practice scarcely yielding emolument sufficient to pay the annual rent of his apothecary's store, he left Inverleithen after the lapse of a year, and returned to Peebles. He now began to turn his attention to literature, and was fortunate in procuring congenial employment from the Messrs Chambers, as a contributor to their popular _Journal_. Of this periodical he soon attained the position of sub-editor; and in evidence of the indefatigable nature of his services in this literary connexion, it is worthy of record that, during the period intervening between 1837 and 1842, he contributed to the _Journal_ no fewer than five hundred essays, one hundred tales, and about fifty biographical sketches. Within the same period he edited a new edition of Paley's "Natural Theology," with scientific notes, and wrote extensively for a work of the Messrs Chambers, entitled "Information for the People." In 1842, he was appointed to the sub-editorship of the _Scotsman_ newspaper. The bequest of a relative afterwards enabled him to relinquish stated literary occupation, but he continued to exhibit to the world pleasing evidences of his learning and industry. He became a frequent contributor to _Hogg's Instructor_, an Edinburgh weekly periodical; produced a work on "Greek History;" and collated a "Rhyming Dictionary." A large, magnificently illustrated volume, the "Clans of the Highlands of Scotland," was his most ambitious and successful effort as a prose-writer. His poetical compositions, which were scattered among a number of the periodicals, he was induced to collect and publish in a volume, with the title, "Io Anche! Poems chiefly Lyrical;" Edinburgh, 1851, 12mo. An historical play from his pen, entitled "Condé's Wife," founded on the love of Henri Quatre for Marguerite de Montmorency, whom the young Prince of Condé had wedded, was produced in 1842 by Mr Murray in the Theatre Royal, Edinburgh, and during a run of nine nights was received with applause.

Smibert died at Edinburgh on the 16th January 1854, in his forty-fourth year. With pleasing manners, he was possessed of kindly dispositions, and was much cherished for his intelligent and interesting conversation. In person he was strong built, and his complexion was fair and ruddy. He was not undesirous of reputation both as a poet and prose-writer, and has recorded his regret that he had devoted so much time to evanescent periodical literature. His poetry is replete with patriotic sentiment, and his strain is forcible and occasionally brilliant. His songs indicate a fine fancy and deep pathos.

THE SCOTTISH WIDOW'S LAMENT.

Afore the Lammas tide
Had dun'd the birken-tree,
In a' our water side
Nae wife was bless'd like me.
A kind gudeman, and twa
Sweet bairns were 'round me here,
But they're a' ta'en awa'
Sin' the fa' o' the year.

Sair trouble cam' our gate,
And made me, when it cam',
A bird without a mate,
A ewe without a lamb.
Our hay was yet to maw,
And our corn was to shear,
When they a' dwined awa'
In the fa' o' the year.

I downa look a-field,
For aye I trow I see
The form that was a bield
To my wee bairns and me;
But wind, and weet, and snaw,
They never mair can fear,
Sin' they a' got the ca'
In the fa' o' the year.

Aft on the hill at e'ens,
I see him 'mang the ferns--
The lover o' my teens,
The faither o' my bairns;
For there his plaid I saw,
As gloamin' aye drew near,
But my a's now awa'
Sin' the fa' o' the year.

Our bonnie rigs theirsel',
Reca' my waes to mind;
Our puir dumb beasties tell
O' a' that I hae tyned;
For wha our wheat will saw,
And wha our sheep will shear,
Sin' my a' gaed awa'
In the fa' o' the year?

My hearth is growing cauld,
And will be caulder still,
And sair, sair in the fauld
Will be the winter's chill;
For peats were yet to ca',
Our sheep they were to smear,
When my a' passed awa'
In the fa' o' the year.

I ettle whiles to spin,
But wee, wee patterin' feet
Come rinnin' out and in,
And then I just maun greet;
I ken it 's fancy a',
And faster rows the tear,
That my a' dwined awa'
In the fa' o' the year.

Be kind, O Heaven abune!
To ane sae wae and lane,
And tak' her hamewards sune
In pity o' her maen.
Lang ere the March winds blaw,
May she, far far frae here,
Meet them a' that's awa
Sin' the fa' o' the year!

THE HERO OF ST JOHN D'ACRE.[25]

Once more on the broad-bosom'd ocean appearing
The banner of England is spread to the breeze,
And loud is the cheering that hails the uprearing
Of glory's loved emblem, the pride of the seas.
No tempest shall daunt her,
No victor-foe taunt her,
What manhood can do in her cause shall be done--
Britannia's best seaman,
The boast of her freemen,
Will conquer or die by his colours and gun.

On Acre's proud turrets an ensign is flying,
Which stout hearts are banded till death to uphold;
And bold is their crying, and fierce their defying,
When trench'd in their ramparts, unconquer'd of old.
But lo! in the offing,
To punish their scoffing,
Brave Napier appears, and their triumph is done;
No danger can stay him,
No foeman dismay him,
He conquers or dies by his colours and gun.

Now low in the dust is the Crescent flag humbled,
Its warriors are vanquish'd, their freedom is gone;
The strong walls have tumbled, the proud towers are crumbled,
And England's flag waves over ruin'd St John.
But Napier now tenders
To Acre's defenders
The aid of a friend when the combat is won;
For mercy's sweet blossom
Blooms fresh in his bosom,
Who conquers or dies by his colours and gun.

"All hail to the hero!" his country is calling,
And "hail to his comrades!" the faithful and brave,
They fear'd not for falling, they knew no appalling,
But fought like their fathers, the lords of the wave.
And long may the ocean,
In calm and commotion,
Rejoicing convey them where fame may be won,
And when foes would wound us
May Napier be round us,
To conquer or die by their colours and gun!

FOOTNOTES:

[25] Admiral Sir Charles Napier.

OH! BONNIE ARE THE HOWES.

Oh! bonnie are the howes
And sunny are the knowes
That feed the kye and yowes
Where my life's morn dawn'd;
And brightly glance the rills
That spring amang the hills
And ca' the merry mills
In my ain dear land.

But now I canna see
The lammies on the lea,
Nor hear the heather bee
On this far, far strand.
I see nae father's ha',
Nae burnie's waterfa',
But wander far awa'
Frae my ain dear land.

My heart was free and light,
My ingle burning bright,
When ruin cam' by night
Through a foe's fell hand.
I left my native air,
I gaed to come nae mair;
And now I sorrow sair
For my ain dear land.

But blithely will I bide
Whate'er may yet betide
When ane is by my side
On this far, far strand.
My Jean will soon be here
This waefu' heart to cheer,
And dry the fa'ing tear
For my ain dear land.

OH! SAY NA YOU MAUN GANG AWA'.

Oh! say na you maun gang awa',
Oh! say na you maun leave me;
The dreaded hour that parts us twa
Of peace and hope will reave me.

When you to distant shores are gane
How could I bear to tarry,
Where ilka tree and ilka stane
Would mind me o' my Mary?

I couldna wander near yon woods
That saw us oft caressing,
And on our heads let fa' their buds
In earnest o' their blessing.

Ilk stane wad mind me how we press'd
Its half-o'erspreading heather,
And how we lo'ed the least the best
That made us creep thegither.

I couldna bide, when you are gane,
My ain, my winsome dearie,
I couldna stay to pine my lane--
I live but when I 'm near ye.

Then say na you maun gang awa',
Oh! say na you maun leave me;
For ah! the hour that parts us twa
Of life itself will reave me.

JOHN BETHUNE.

The younger of two remarkable brothers, whose names are justly entitled to remembrance, John Bethune, was born at the Mount, in the parish of Monimail, Fifeshire, during the summer of 1810. The poverty of his parents did not permit his attendance at a public school; he was taught reading by his mother, and writing and arithmetic by his brother Alexander,[26] who was considerably his senior. After some years' employment as a cow-herd, he was necessitated, in his twelfth year, to break stones on the turnpike-road. At the recommendation of a comrade, he apprenticed himself, early in 1824, to a weaver in a neighbouring village. In his new profession he rapidly acquired dexterity, so that, at the end of one year, he could earn the respectable weekly wages of fifteen shillings. Desirous of assisting his aged parents, he now purchased a loom and settled as a weaver on his own account, with his elder brother as his apprentice. A period of mercantile embarrassments which followed, severely affecting the manufacturing classes, pressed heavily on the subject of this notice; his earnings became reduced to six shillings weekly, and he was obliged to exchange the labours of the shuttle for those of the implements of husbandry. During the period of his apprenticeship, his thoughts had been turned to poetical composition, but it was subsequent to the commercial disasters of 1825 that he began earnestly to direct his attention towards the concerns of literature. Successive periods of bad health unfitting him for continued labour in the fields, were improved by extensive reading and composition. Before he had completed his nineteenth year he had produced upwards of twenty poetical compositions, each of considerable length, and the whole replete with power, both of sentiment and expression. Till considerably afterwards, however, his literary productions were only known to his brother Alexander, or at furthest to his parents. "Up to the latter part of 1835," writes his brother in a biographical sketch, "the whole of his writing had been prosecuted as stealthily as if it had been a crime punishable by law. There being but one apartment in the house, it was his custom to write by the fire, with an old copy-book, upon which his paper lay, resting on his knee, and this, through life, was his only writing-desk. On the table, which was within reach, an old newspaper was kept constantly lying, and as soon as the footsteps of any one were heard approaching the door, copy-book, pens, and ink-stand were thrust under this covering, and before the visitor came in, he had, in general, a book in his hand, and appeared to have been reading."

For a number of years Bethune had wrought as a day-labourer in the grounds of Inchrye, in the vicinity of his birthplace. On the death of the overseer on that property he was appointed his successor, entering on the duties at the term of Martinmas 1835, his brother accompanying him as his assistant. The appointment yielded £26 yearly, with the right of a cow's pasturage--emoluments which considerably exceeded the average of his previous earnings. To the duties of his new situation he applied himself with his wonted industry, still continuing to dedicate only his evenings and the intervals of toil to literary occupation. But his comparative prosperity was of short duration. During the summer following his appointment at Inchrye the estate changed owners, and the new proprietor dispensed with his services at the next term. In another year the landlord required the little cottage at Lochend, occupied by his parents. Undaunted by these reverses, John Bethune and his brother summoned stout courage; they erected a cottage at Mount Pleasant, near Newburgh, the walls being mostly reared by their own hands. The future career of Bethune was chiefly occupied in literary composition. He became a contributor to the _Scottish Christian Herald_, _Wilson's Tales of the Borders_, and other serial publications. In 1838 appeared "Tales and Sketches of the Scottish Peasantry," the mutual production of the poet and his brother--a work which, published in Edinburgh, was well received. A work on "Practical Economy," on which the brothers had bestowed much pains, and which had received the favourable opinion of persons of literary eminence, was published in May 1839, but failed to attract general interest. This unhappy result deeply affected the health of the poet, whose constitution had already been much shattered by repeated attacks of illness. He was seized with a complaint which proved the harbinger of pulmonary consumption. He died at Mount Pleasant on the 1st September 1839, in his thirtieth year.

With a more lengthened career, John Bethune would have attained a high reputation, both as an interesting poet and an elegant prose-writer. His genius was versatile and brilliant; of human nature, in all its important aspects, he possessed an intuitive perception, and he was practically familiar with the character and habits of the sons of industry. His tales are touching and simple; his verses lofty and contemplative. In sentiment eminently devotional, his life was a model of genuine piety. His Poems, prefaced by an interesting Memoir, were published by his surviving brother in 1840; and from the profits of a second edition, published in the following year, a monument has been erected over his grave in the churchyard of Abdie.

FOOTNOTES:

[26] Alexander Bethune, the elder brother of the poet, and his constant companion and coadjutor in literary work, was born at Upper Rankeillor, in the parish of Monimail, in July 1804. His education was limited to a few months' attendance at a subscription school in his sixth year, with occasional lessons from his parents. Like his younger brother, he followed the occupation of a labourer, frequently working in the quarry or breaking stones on the public road. Early contracting a taste for literature, his leisure hours were devoted to reading and composition. In 1835, several of his productions appeared in _Chambers' Edinburgh Journal_. "Tales and Sketches of the Scottish Peasantry," a volume by the brothers, of which the greater portion was written by Alexander, was published in 1838; their joint-treatise on "Practical Economy" in the year following. In 1843, Alexander published a small volume of tales, entitled "The Scottish Peasant's Fireside," which was favourably received. During the same year he was offered the editorship of the _Dumfries Standard_ newspaper, with a salary of £100 a-year, but he was unable to accept the appointment from impaired health. He died at Mount Pleasant, near Newburgh, on the 13th June 1843, and his remains were interred in his brother's grave in Abdie churchyard. An interesting volume of his Memoirs, "embracing Selections from his Correspondence and Literary Memoirs," was published in 1845 by Mr William M'Combie.

WITHER'D FLOWERS.

Adieu! ye wither'd flow'rets!
Your day of glory's past;
But your latest smile was loveliest,
For we knew it was your last.
No more the sweet aroma
Of your golden cups shall rise,
To scent the morning's stilly breath,
Or gloaming's zephyr-sighs.

Ye were the sweetest offerings
Which Friendship could bestow--
A token of devoted love
In pleasure or in woe!
Ye graced the head of infancy,
By soft affection twined
Into a fairy coronal
Its sunny brows to bind.

* * * * *

But ah! a dreary blast hath blown
Athwart you in your bloom,
And, pale and sickly, now your leaves
The hues of death assume.
We mourn your vanish'd loveliness,
Ye sweet departed flowers;
For ah! the fate which blighted you
An emblem is of ours.

* * * * *
And though, like you, sweet flowers of earth,
We wither and depart,
And leave behind, to mourn our loss,
Full many an aching heart;
Yet when the winter of the grave
Is past, we hope to rise,
Warm'd by the Sun of Righteousness,
To blossom in the skies.

A SPRING SONG.

There is a concert in the trees,
There is a concert on the hill,
There 's melody in every breeze,
And music in the murmuring rill.
The shower is past, the winds are still,
The fields are green, the flow'rets spring,
The birds, and bees, and beetles fill
The air with harmony, and fling
The rosied moisture of the leaves
In frolic flight from wing to wing,
Fretting the spider as he weaves
His airy web from bough to bough;
In vain the little artist grieves
Their joy in his destruction now.

Alas! that, in a scene so fair,
The meanest being e'er should feel
The gloomy shadow of despair
Or sorrow o'er his bosom steal.
But in a world where woe is real,
Each rank in life, and every day,
Must pain and suffering reveal,
And wretched mourners in decay--
When nations smile o'er battles won,
When banners wave and streamers play,
The lonely mother mourns her son
Left lifeless on the bloody clay;
And the poor widow, all undone,
Sees the wild revel with dismay.

Even in the happiest scenes of earth,
When swell'd the bridal-song on high,
When every voice was tuned to mirth,
And joy was shot from eye to eye,
I 've heard a sadly-stifled sigh;
And, 'mid the garlands rich and fair,
I 've seen a cheek, which once could vie
In beauty with the fairest there,
Grown deadly pale, although a smile
Was worn above to cloak despair.
Poor maid! it was a hapless wile
Of long-conceal'd and hopeless love
To hide a heart, which broke the while
With pangs no lighter heart could prove.

The joyous spring and summer gay
With perfumed gifts together meet,
And from the rosy lips of May
Breathe music soft and odours sweet;
And still my eyes delay my feet
To gaze upon the earth and heaven,
And hear the happy birds repeat
Their anthems to the coming even;
Yet is my pleasure incomplete;
I grieve to think how few are given
To feel the pleasures I possess,
While thousand hearts, by sorrow riven,
Must pine in utter loneliness,
Or be to desperation driven.

Oh! could we find some happy land,
Some Eden of the deep blue sea,
By gentle breezes only fann'd,
Upon whose soil, from sorrow free,
Grew only pure felicity!
Who would not brave the stormiest main
Within that blissful isle to be,
Exempt from sight or sense of pain?
There is a land we cannot see,
Whose joys no pen can e'er portray;
And yet, so narrow is the road,
From it our spirits ever stray--
Shed light upon that path, O God!
And lead us in the appointed way.

There only joy shall be complete,
More high than mortal thoughts can reach,
For there the just and good shall meet,
Pure in affection, thought, and speech;
No jealousy shall make a breach,
Nor pain their pleasure e'er alloy;
There sunny streams of gladness stretch,
And there the very air is joy.
There shall the faithful, who relied
On faithless love till life would cloy,
And those who sorrow'd till they died
O'er earthly pain and earthly woe,
See Pleasure, like a whelming tide,
From an unbounded ocean flow.

ALLAN STEWART.

Allan Stewart, a short-lived poet of no inconsiderable merit, was born in the village of Houston, Renfrewshire, on the 30th January 1812. His father prosecuted the humble vocation of a sawyer. Deprived of his mother in early life, the loss was in some degree repaired by the kind attentions of his maternal aunt, Martha Muir, whose letters on religious subjects have been published. Receiving an ordinary education at school, he followed the trade of a weaver in Paisley. His leisure hours were employed in reading, and in the composition of verses. He died of typhus fever, at Paisley, on the 12th November 1837, in his twenty-sixth year. His "Poetical Remains" were published in 1838, in a thin duodecimo volume, with a well-written biographical sketch from the pen of his friend, Mr Charles Fleming.

Stewart was a person of modest demeanour, and of a thoughtful and somewhat melancholy cast. His verses are generally of a superior order; his songs abound in sweetness of expression and elegance of sentiment.

THE SEA-BOY.

AIR--_"The Soldier's Tear."_

The storm grew faint as daylight tinged
The lofty billows' crest;
And love-lit hopes, with fears yet fringed,
Danced in the sea-boy's breast.
And perch'd aloft, he cheer'ly sung
To the billows' less'ning roar--
"O Ellen, so fair, so free, and young,
I 'll see thee yet once more!"

And O what joy beam'd in his eye,
When, o'er the dusky foam,
He saw, beneath the northern sky,
The hills that mark'd his home!
His heart with double ardour strung,
He sung this ditty o'er--
"O Ellen, so fair, so free, and young,
I 'll see thee yet once more!"

Now towers and trees rise on his sight,
And many a dear-loved spot;
And, smiling o'er the blue waves bright,
He saw young Ellen's cot.
The scenes on which his memory hung
A cheerful aspect wore;
He then, with joyous feeling, sung,
"I 'll see her yet once more!"

The land they near'd, and on the beach
Stood many a female form;
But ah! his eye it could not reach
His hope in many a storm.
He through the spray impatient sprung,
And gain'd the wish'd-for shore;
But Ellen, so fair, so sweet, and young,
Was gone for evermore!

MENIE LORN.

While beaus and belles parade the streets
On summer gloamings gay,
And barter'd smiles and borrow'd sweets,
And all such vain display;
My walks are where the bean-field's breath
On evening's breeze is borne,
With her, the angel of my heart--
My lovely Menie Lorn.

Love's ambuscades her auburn hair,
Love's throne her azure eye,
Where peerless charms and virtues rare
In blended beauty lie.
The rose is fair at break of day,
And sweet the blushing thorn,
But sweeter, fairer far than they,
The smile of Menie Lorn.

O tell me not of olive groves,
Where gold and gems abound;
Of deep blue eyes and maiden loves,
With every virtue crown'd.
I ask no other ray of joy
Life's desert to adorn,
Than that sweet bliss, which ne'er can cloy--
The love of Menie Lorn.

THE YOUNG SOLDIER.